Over the years I have heard many recordings of music written for the Imperial court in Vienna. That’s no wonder: Vienna was a centre of music-making in Europe. During the 17th and 18th centuries some of the best musicians and composers were in the service of the Habsburg emperors. Most of the recordings concentrate on music for violins or voice. This disc is different in that it presents music for viol consort. That’s all the more interesting, as it is often thought that in the 17th century consort music was only written in France and England. It is quite surprising that this kind of music was also written in Austria. Most musicians in the service of the Imperial court were from Italy, where the viol consort had gone out of fashion since the first quarter of the 17th century. The fact that Italian composers wrote music for viol consort was due to the personal preferences of the emperors, Ferdinand III and Leopold I, who also wrote some music for this kind of ensemble themselves.
This MDG Gold disc Orchestral Works, Vol. 2 brings four pieces of Antonio Rosetti (or, if you prefer, Antonín Rösler) to the CD catalog that have never been recorded. This isn't much of a stretch of the imagination, as Rosetti's orchestral output is enormous; the contents of this disc include only three out of his 44 symphonies and a single flute concerto out of the 12 composed by Rosetti. Most of this music is neglected, so the automatic question that comes up is whether there is actually something to look forward to in further investigating Rosetti, or if he is to remain one of those marginal figures in the classical era that only scholars seem to know or care about.
Antonio Rosetti was one of the most popular composers of his time and in this special edition MDG presents two recordings of orchestral works by the Bohemian master featuring the Rosetti specialist Johannes Moesus in performances with the Hamburg Symphony and renowned soloists.
The Symphonic Prologue to Dante's classic 'La Divina Commedia' is indeed quite brilliant, a very emotionally charged piece full of tragedy and victory in a rich orchestral garb. The Hamburg Symphony Orchestra play with superb conviction and intensity, and are quite admirably conducted by Gomez Martinez. The same goes for the First Symphony, an intensely personal work all round that shows Woyrsch's admirable sense for long symphonic breadth that is uncannily prescient of Mahler and his contemporary Rott, whose First Symphony is one of the gems of late romantic expressionism. Again, both orchestra and conductor are completely immersed in the beautiful music that permeates the symphony and their performance is certainly one of the best that one could hope for.
Turina's take on Spanish folk idioms is unmatched, and showcased quite nicely on this CD. The "Danzas fantasticas" are the highlight, but the romantic flair of all the works on this recording is not to be missed. The orchestra is brilliant throughout, and the technical aspects of the recording are lacking nothing. Absolutely no complaints, only pure enjoyment. You can't go wrong with this one.
Mourir à soi, naître en Dieu, « percer dans le fond de l’âme »… L’intime chez Maître Eckhart n’est ni le secret ni la simple intériorité, mais une distance essentielle en l’âme qui permet à l’homme d’être à la fois uni à Dieu et présent au monde ? authentiquement humain. Cette expérience apparaît ainsi comme une expression privilégiée du détachement, objet principal de la prédication du théologien rhénan. Ouverte sur l’agir et non close sur elle-même, elle révèle en l’homme une profondeur infinie qui fait de lui un être libre, inappropriable. …
Par le biais d’une méthode philologique, historique, et philosophique, ce livre établit l’absence de lien direct entre Maître Eckhart et Jacob Böhme. En réalité, le concept de la “philosophie mystique allemande”, commençant soit disant avec Eckhart et finissant avec Böhme, a son origine dans la philosophie romantique du 19ème siècle et est toujours en usage aujourd’hui. L'étude se concentre sur la théorie eckhartienne du “grunt” et de l’“abgrunt” et sur sa relation possible avec la théorie böhmienne de l’“Ungrund”…
Les "Sermons parisiens" ont été rédigés par Maître Eckhart entre 1311 et 1313 durant son second magistère à la Faculté de théologie de l'Université de Paris. Ecrits en latin dans un style qui est celui des grands sermons universitaires de cette période, ils expriment déjà la plupart de ses thèmes mystiques favoris tels que l'incarnation du Verbe, le détachement de l'âme et la filiation divine. …